This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1922 Excerpt: ...that the trochee (Ex. 5) may be a two-count figure, of which the first count will be metrically the stronger. Of the six counts of the measure, the trochee may stand on 1 2, or 4 5, or (with count 1 empty) on counts 2 3, or finally 5 6. See Ex. 37, the word boldness. We are aware also that the iamb (Ex. 6) may be ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1922 Excerpt: ...that the trochee (Ex. 5) may be a two-count figure, of which the first count will be metrically the stronger. Of the six counts of the measure, the trochee may stand on 1 2, or 4 5, or (with count 1 empty) on counts 2 3, or finally 5 6. See Ex. 37, the word boldness. We are aware also that the iamb (Ex. 6) may be stressed in its short, and receive there an expressive rubato (Ex. 36). The pause may be made in actual time and quantity, the short of the iamb taking two counts. This brings the iamb to the proportions of the spondee (Ex. 8). Music "spondaises" an iamb in tripletime, by bringing the short upon the middle count of the pulse: yy fVpfW (Ex. 41). The first iamb of this pattern (" are in ") has two counts, the second has four. Left to itself, the player-piano destroys the fundamental triple-time of such a passage: it converts the majestic and forceful 1. II. 6 1' 2-3 4-5" are in His hand into the light and bounding III I II 5 6' 1-2' 3-1." are in His hand Between these two rhythms is a difference as complete as between the phrases " He struck him dead" and "Happy sweethearts." The iamb shown in the second pulse of Ex. 41 (" His hand ") may be retained for several successive pulses. When triple-time is preserved, the accented particle (" hand ") can have only a single count. I'jj J 31J T J 3 J (Ex. 42). The composer may '3 I 4' Ml I. 2-31 4' 5.61 1.2 stress the minims, as in this pattern: if further he phrases a diminuendo from the minim to the crochet (see Ex. 36), he establishes syncopation, and the pulse becomes a true trochee of 1-2 3' thrust into the pulse progression that gives it the counts 2-3 1. But the composer may not stress the minim. He may stress the crotchet, and direc...
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